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...﻿Stella
ENG 4U1
Monday, September 16, 2013
The Prescription to Madness vs. Curiosity Saves the Cat
Charlotte Perkins Gilman’s “The Yellow Wallpaper” was published in 1899. This story was based on her own personal experience with severe depression which she underwent a series of unusual treatment for. “The Yellow Wallpaper” is a story about a woman who suffers and has been diagnosed by her husband with “temporary nervous depression” (Gilman, 1). The story of “Bluebeard” written by Charles Perrault is one of the classic fairy tales that children are told by their parents, but the part about the murder of his wives is removed and substituted with something more appropriate for kids. “Bluebeard” is a story about a wealthy man, a magical key and his wife who reluctantly agrees to marry him even though he has a blue beard that made him “frightfully ugly” (Perrault,1). In my opinion, these two stories have nothing in common expect the fact that although they both have the same exceptional symbols like colors, rooms, house, key and sisters, these symbols mean and represent different things in the stories.
The ‘yellow wallpaper’ in this story symbolizes sickness and an ill state of mind. It is driven by the narrator’s sense that the wallpaper is a passage she must interpret and it also symbolizes that it is something that affects her directly. The wallpaper develops its symbolism throughout the story. At first it seems merely unpleasant: it is...

...Reader Response
In the short story Bluebeard, there is a man who is married to an average house wife. The main part of this story is how Bluebeard leaves his house for a week or so for some reason. This results in leaving his wife all alone in Bluebeards house, where his wife has not seen a whole lot of it. Bluebeard gave her a key and said there is a secret closet in the house that you are permitted from. So the wife goes on searching and does not think about that one closet. However, her curiosity kicks in and nothing stops her from checking in the closet. As she opened the door, she saw something very shocking and terrifying. A bunch of dead bodies laid in the closet. This had made the women panic and not know what to do, until her husband came and attempted to kill her. Fortunately, her brothers came and killed Bluebeard, saving her life. A problem that stands out to me in this story is the fact that the wife did not do anything right away, when she saw the closet. Instead of panicking and waiting for Bluebeard, she could have fled and called the police station, arresting Bluebeard. This short story can remind many readers of past life experiences, such as when getting in deep trouble, and not trying to get out of it, and instead taking the blame and paying the consequences . I really disagree in the situation where Bluebeard did not kill the wife right...

...﻿Bluebeard
Sara Bierly
D. I think the theme to this painting would be Politics and the Social Order because, the way Rabo describes the painting reminds me of Eugene Delacroix’s painting “Liberty Leading the People”. The picture in the potato barn is an enormous realistic painting of what the Karabekian’s experienced in World War II. Delacroix’s painting displays the Revolutionary war. Although the painting signifies liberty and justice unlike Rabo’s painting, it displays the suffering and realistic brutality of the war. Politics is largely involved in Rabo’s painting due to the presence of war and history of the war. Showing his involvement along with others to bring peace and societal independence which is part of what this theme is about. There is much social conflict in the painting, it demonstrates Rabo’s feelings and how many of his people truly suffered in this war scene.
D. The book displays that Dan Gregory, in fact; hates modern art. Gregory had finished a realistic and uncensored painting; Rabo says “The Emperor has no clothes.” Gregory says on page 147 “I want you to say that out loud and with just that degree of conviction,” “anytime anyone has anything good to say about so-called modern art.”
“It’s the work of swindlers and lunatics and degenerates,” “and the fact that many people are now taking it seriously proves to me that the world has gone mad, I hope you agree.” He then goes on and says “Mussolini thinks so, too”… He says the first...

...family name is followed, not preceded, by the baptismal name. This leads to a considerable amount of confusion in countries where the reverse custom prevails. In my study, the Western order is employed: Béla Bartók, rather than Bartók Béla, which is correct in Hungary. In citing titles of Bartók’s works, I often use only the English titles as they appear in the comprehensive “List of Compositions” in Béla Bartók: A Guide to Research (Antokoletz 1997 [1988]: 5–43), but sometimes present the Hungarian titles as well, especially for major works such as Duke Bluebeard’s Castle (A kékszakállú herceg vára – literally The Bluebearded Duke’s Castle). In my study, the opera is variously referred to as Duke Bluebeard’s Castle, Bluebeard’s Castle, or Bluebeard. Hungarian titles of scholarly publications are accompanied by English translations; those in French and German are given in the original languages. 2. Bartók gave opus numbers 1 to 21 to his early works. In 1898, he stopped assigning opus numbers to his compositions for six years. In 1904, with the Rhapsody for piano solo (Sz 26, BB 36a), Bartók began the numbering once again, giving opus numbers to compositions that he considered major works. In 1921, he assigned the opus number 21 to his Sonata for Violin and Piano No. 1 in C-sharp-minor (I. Szonáta hegedűre és zongorára) (Sz 75, BB 84), dedicated to Jelly Arányi (1893–1966), after which Bartók stopped using opus numbers for good. The Sz numbers refer to András...